Hamburg, Germany 1936 – Canberra, ACT, Australia 2016
Canberra, Australian Capital Territory, Australia
Materials & Technique: glass, glass: fused, ground
Glass – the material of my choice – is extremely resistant towards any handling. Therefore, glass sets boundaries that are difficult to overcome. Forty years of working with glass have taught me that, in order to push back my limitations, I have to extend my skills. The journey of learning will never end. The result is ease in the realisation of the creative ideas, ease that is reflected in the finished objects.
Only on very rare occasions do I title my work. I believe that the viewer must find his/her interpretation, must find a bond with the work based on what the work is passing on to him/her. What I feel or express at the moment of creating is only secondary. When titles appear, like Uriarra Crossing, they are a reference to specific moments, to specific issues. Here I am paying respect to the Aboriginal people, using in the work particulars that I transformed from ‘theirs’ to ‘mine’.
Colour is the only true international language. With colour we bridge the barriers that exist within and between nations. The universal understanding of the reds, the blues and the yellows is making art the ambassador, the ombudsman, the arbitrator.
I have now spent half of my working life in Australia. During these years I have experienced a considerable growth in the studio glass scene. Australian glass has made a strong impact nationally and internationally. Australian glass artists are equally sought as teachers at home and overseas. A material which, only 40 years ago, was discovered as suitable for use in the expression of artistic inspiration has established itself as a medium taught in art schools and used by an ever-growing arts community.
Klaus Moje 2002
Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002